hello! my name is
Guide to Applied Communication Theory a cohesive manual for graphic designers, addressing key concepts to effectively aid design concepts.
table of contents WELCOME
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WHERE ARE YOU FROM? BUILDING MEANING ADDING TO THE MESSAGE anchor ALTERING THE MESSAGE relay CHANGING THE CONNOTATIONS DEFINITIONS
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HOW ARE YOU? MAKING SHAPE PLAYING WITH AUTHORITY ethos FOLLOWING LOGIC logos FOCUSING ON FEELINGS pathos RHETORIC + MODE OF APPEAL DEFINITIONS CAN I HELP YOU? EVERYDAY communication model PLAYABLE communication model DEFINITIONS
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welcome
Theory is at the root of all communication and communication is the main goal of design. There is always an idea, moral, or question being posed, hoping for the appeal of the designated audience. We, as designers base our effectiveness on the feedback received from the design, whether that is from the client, test audience, sale scores or other sources.
Designers are able to tailor messages through the use of signs, syntax, appealing to the emotions, and using specific visualizations to reinforce the overall idea. The ability to effectively use all of these tools are at the heart of any great designer. What makes the designer different than those in other fields is their vast knowledge in not only popular culture, daily life, but their hobbies as well as their ability to relate to a large audience, and range of clients. A designer must be dedicated to researching, writing, sketching, presenting and reiterating ideas at any given moment. Each project is composed of many stages which begins with the given problem and researching, ending with a solution and product. We as designers must learn how to work in groups, as well as fully understand our intended audience, without those important pieces, we are simply creating art and not design.
**Within this book are three main topics, in each topic there are three segments. The main topic segment is the real world example, is 100% tint of the color. The next segment is my own created example of the topic, is 50% of the color tint. The last segment are the terms associated with the topic, is 20% of the color tint.
where are you from?
my name is
SEMIOTICS
I am the study of signs and deal mainly with how all meaning is constructed. I am the basis by which you judge all design on, be it the cultural accepted meaning, audience, color, or typography.
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BUILDING MEANING
ICON
INDEX
This is an easily recognizable handmade illustration of a pirate ship based on the wood, various sails and ropes.
Based on the use of various band names, as well as “on select dates� phrase directly connects to this poster a concert.
source design by Stranger/Kevin Shaw.
source design by Aidan Hughes.
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SYMBOL
SYNTAGM
The circle with a slash through the P is a learned representation of a sign that means no parking.
One must read all of the directions on the sign in sequential order to correctly cross the street via the crosswalk.
source Crossroads of Kansas City, off of Baltimore Road and East 19th Street.
source Crossroads of Kansas City, off of Baltimore Road and East 19th Street.
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PARADIGM
PRAGMATIC
The words that make up the icon of a dog can be switched with one another without changing the meaning of the piece.
AUDIENCE people in their 20s-40s.
source Communication Arts, Typography Annual 2012, page 147.
CONTEXT concert venue walls, community bulletin boards, bars. MEANING by using the artwork from KMFDM’s newest CD WTF?! and the logos of four known bands, the poster is able to bring in people from all band fan groups. A large portion of the fans of these bands will positively respond to the suggestive image of the female. source design by Aidan Hughes.
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ADDING TO THE MESSAGE anchor
MAY LEAD TO
B
MAY LEAD TO drunken BEHAVIOR.
HAVIOR.
WITH IMAGE
WITH TYPE
The incorporation of the image of the Caribbean Sea reinforces the idea of the Kraken, which is a spiced rum from the Caribbean Islands.
The addition of text “may lead to drunken behavior“ adds to the accepted idea that alcohol causes a certain set of mischevious behavior in those who partake.
source Kraken bottle design by Stranger/Kevin Shaw. Photograph by A.De Sando.
source Kraken bottle design by Stranger/Kevin Shaw.
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ALTERING THE MESSAGE relay
vacation
WITH IMAGE
WITH TEXT
With the inclusion of a cemetary, the original meaning of the Kraken bottle has been altered to now portray the seriousness of drunk driving or alcohol related death.
The additional type alters the original meaning of the Kraken. The meaning altered by adding “vacation“ to the bottle states that one can take a real trip to the Caribbean or a vacation that one takes from real life while drunk.
source Kraken bottle design by Stranger/Kevin Shaw. Photograph from www.tourcharleston.com.
source Kraken bottle design by Stranger/Kevin Shaw.
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CHANGING THE CONNOTATION
WITH ANCHOR
WITH RELAY
The meaning of the Kraken is further explained through the use of bright colors to bring in the idea of alcohol being a social and fun event to partake in.
The meaning is changed through the use of a child friendly vector of a baby Kraken and san-serif type. It is an example of relay because it calls into action the idea of alcohol having an appeal to people of legal and illegal ages.
CONNOTATIONS are fun, happiness, bright. source Kraken bottle design by Stranger/Kevin Shaw. Photograph by A.De Sando.
CONNOTATIONS are young, adorable, friendly. source Vector illustration by A.De Sando.
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SEMIOTICS definitions SEMIOTICS WHO this word was first coined by Ferdinand de Saussure, who is called the “father“ of linguistics.
SIGNIFIED the mental recognitions of the object when it is recited or written; the initial representation that appears when the visual form or sound of the object is heard.
WHAT this is the study of signs which explains how all meaning is constructed.
SIGNIFIER
ANCHOR
ICON
WHO founded by Roland Barthes, philosopher and literary theorist whom broke down the meaning of this term. WHAT the use of additional text or images to bring more evidence to further explain the message.
RELAY WHO founded by Roland Barthes, philosopher and literary theorist coined this term. WHAT the use of additional text or images to alter or push the initial connotation forward into a further developed concept or idea. SEMANTICS the study of meaning, which can be split into three categories: icon, index and symbol.
PRAGMATICS the combination of intended audience with a location that reinforces the overall message based on that interaction.
SIGN a singular object that represents an idea or word, often represented by a sound or image.
the interpretation of object based on sound/word.
this is an easy to recognize representation of the real object or person; looks just like the sign that it is representing.
INDEX the abstract cause and effect relationship of an icon or symbol.
SYMBOL a learned representation of an object, company, person, or alphabet that has a common use in society. Often these would be company or individual logos or anything related to branding.
PARADIGM the ability to move individual elements in a given piece and still have the same connotation; objects can be read in any order and the message is still understood.
SYNTAGM a sequential relationship that must be read and understood in a given order; linear relationship of a set of signs.
CONNOTATION cultural association/commonly accepted idea or statement associated with a certain object/form.
DENOTATION the physical and visual description associated with an object which describes an abstract form.
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how are you?
our names are
MODES OF APPEAL & RHETORIC We are all about the way in which the designer is able to attain the viewers attention. We do this through the viewer’s emotional, logical, or ethical side as well as authority and credibility of the designer. We also attempt to gain their attention through the use of various visual exaggerations and comparisons. Our intent is to gain the viewer’s attention in whatever way we can.
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MAKING SHAPE
PUN
IRONY
Dogs and mops have nothing in common normally except for this specific dog breed, the Komondor. This breed’s fur looks just like a mop.
The word Brimborium translates from German to English to mean “meaningless.” The illustration shows a masked man dropping bombs and the fact that meaningless is beneath the image points to a use of humor. The larger idea is that dropping bombs is meaningless, nothing changes when bombs are dropped.
source Advertising: New Techniques for Visual Seduction by Thames & Hudson.
source KMFDM t-shirt design by Aidan Hughes.
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HYPERBOLE
METONYMY
The woman’s hair in real life is not actually strong enough to hold a swing with a person on it.
Through the abstract use of chopsticks and the wrapper that chopsticks come in, there is not only a reference to Asian culture, but also a dress and legs representing clothing and fashion.
source Advertising: New Techniques by Thames & Hudson.
source Callegari Berville Grey via www.adsoftheworld.com
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PERSONIFICATION
METAPHOR
Rocks are inanimate, therefore incapable of thought, however the rocks are being illustrated as if in thought.
This piece uses a direct replacement of teeth with hard construction worker hats to express the idea that by using Sensodyne one will have teeth as strong as hard hats.
source Philosophy Rocks! by Stephen Law and designed by Mecca Studios.
source Callegari Berville Grey via www.adsoftheworld.com
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PARODY
SYNECDOCHE
This advertisement utilizes the logo of two well-known delivery companies to promote their own service.
Bulldozers are a representation of human destruction and the leaf is a representation of nature. Thus, the combination of these two illustrates the human destruction of nature.
source artist unknown via www.fromupnorth.com.
source Advertising: New Techniques for Visual Seduction by Thames & Hudson.
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ANTITHESIS This advertisement compares a child going online by themselves to be equivilant to going online with a bunch of strangers with him. source TBWA in Madrid, Spain.
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PLAYING WITH AUTHORITY ethos
ETHOS
ETHOS
The use of an extremely large and muscular super hero using a flexible band-aid focuses on the authority of the Hulk to use only the best and strongest band-aid brand.
This piece focuses on the authority and celebrity status of Slash’s guitar skills. Since Slash is a well-known guitarist, he is considered an authority on quality. He is the most dominant object within the advertisement also adding to logical side.
source JWT, Dubai advertising agency.
source http://www2.epiphone.com.
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FOLLOWING LOGIC logos
LOGOS
LOGOS
The use of numbered steps appeals to the logical side of the viewer, making the viewer realize that step one only comes after step two. The use of vectored illustrations adds to the viewer’s logical side.
This appeals to the logical side specifically because this is an information graphic. Specifically this is achieved through the use of vector icons, san-serif and basic shapes to easily guide the viewer’s eyes.
source HP Printer Booklet.
source http://www.marketingtechblog.com
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FOCUSING ON FEELINGS pathos
PATHOS
PATHOS
An appeal to the emotions is seen through the use of the color red and the open wide-eyed faces of the family.
The use of the humorous illustrations appeals to the viewer’s emotions through the comical illustration of someone getting hit by a cricket ball.
source New Retro by Thames & Hudson.
source New Retro by Thames & Hudson.
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RHETORIC + MODE OF APPEAL
METAPHOR + PATHOS
This piece focuses on the emotions of the viewer through the act of consumption. Eating is part of culture and brings about a range of emotions, stemming from overeating, not eat healthy, as well as attempting to lose or gain weight. Food also has the ability to remind individuals of past events in their lives. source A.De Sando creation and design.
IRONY + LOGOS
This focuses on the viewer’s sense of logic with the reference to democracy through “United we stand, divided we fall“ lines which has been used in various mottos of states and nations. Irony is seen within through the use of the letters to spell democracy multiple times in the background of the poster. Irony is also seen withint the use of the text, “democracy together we vote“ because many Americans do not vote, stating that we are not together as a nation and urging people to vote. source A.De Sando creation and design.
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RHETORIC + MODES OF APPEAL definitions RHETORIC
METONYMY
WHO this was first talked about by pre-socratic philosophers from Ancient Greece. WHAT this is the act of speaking or writing effectively through the use of various visualizations to exaggerate a given message.
METAPHOR
MODES OF APPEAL WHO this was first talked about by Artistotle. WHAT this is the way in which to use a viewer’s emotional, logical or ethical side to promote a certain product, location or message. PUN portraying an idea by either a play on words or images.
HYPERBOLE exaggeration of an object past its natural dimensions either by its size or capacity.
IRONY the act of conveying a deeper meaning that is opposite to the literal meaning via humor and sarcasm.
ANTITHESIS comparing two opposite images or ideas, which in turn intensifies each individual meaning.
PERSONIFICATION the use of giving inanimate objects humanistic qualities such as emotion, desire, speech and gesture.
the use of one simplified indexical image to stand in for a more complex idea. the direct comparison of two unrelated objects or ideas.
SYNECDOCHE the representation of a piece of an idea standing for the whole message.
PARODY the imitation of a widely accepted and recognized piece of work through humor.
PATHOS the act of appealing to a viewer’s range of emotions through the use of text and imagery, often playing off the viewer’s strong emotions in relation to a topic.
ETHOS the act of appealing to a viewer’s ethical side through the use of seals of approval, testimonies or credibility to promote a certain act. This can also be based off the actual author’s authority on a given subject.
LOGOS the act of appealing to a viewer’s sense of logic. Through the use of facts, statistics and deductions, the viewer is able to understand the order and logical appeal of a given act.
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can I help you? my name is
COMMUNICATION MODELS
I am the process by which all mesages are created, sent, received and reacted to. I am around you on an everyday basis. Dependent on how you look at it, you use me every day! I am the overall procedure from the conceptualization to the final product, feedback and then changes to the final based on feedback.
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STARBUCKS communication model
1 ARRIVAL + SURVEY AT LOCATION
MAKE YOUR CHOICE
NOISE
COMMUNICATOR A
TECHNICAL the line length being long, the customer judging whether or not they have enough time to stand in it, the beverage made incorrectly. SEMANTIC employee number is less than usual on the given day may lead to service being slower.
this is the customer that comes in and places their order.
EFFECTIVENESS whether or not the drink is made correctly, if the drink tastes good, how fast the service is.
CONTEXTUAL FACTORS LOGIC the reasons in which Communicator A visits a Starbucks in the first place including location of the establishment in relation to the residence of the customer, past positive experiences with Starbucks. MOTIVATION based on reviews of friends or family, the price of the beverage, the early or late hours of Starbucks, giftcards for Starbucks. PERCEPTION Starbucks being a currently trendly place for college students to hangout, or to attain free Wi-Fi.
COMMUNICATOR B the barista that takes Communicator A’s order.
MESSAGE the drink order that Communicator A readies for Communicator B.
CHANNEL the vocals of Communicator A stating their order to Communicator B.
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2
3
WAIT IN LINE
STATE YOUR ORDER
NOISE
MESSAGE
TECHNICAL can be seen in the legibility of the typography on the menu, sounds in the environment, the use of colors throughout the store to direct Communicator A’s attention, redundency of beverage and food options on the boards as well as physical displays. SEMANTIC if the menu is covered up, is there still a way for Communicator A to select a drink from the menu? EFFECTIVENESS whether the menu and products are the most dominant focus in the whole store layout.
CONTEXTUAL FACTORS LOGIC in the amount of caffeine that is needed for Communicator A to successfully function. MOTIVATION of Communicator A to purchase certain beverages based on previous Starbucks’ or other coffee experiences. PERCEPTION of how long the line is and possiblity of getting through the line before Communicator A is at where they need to go the stress of standing in line waiting, based on Communicator B’s attitude.
Communicator A encodes the drink order to Communicator B.
NOISE TECHNICAL legibility of the items for sale. SEMANTIC ability to find drinks even if drink style categories were not present. EFFECTIVENESS menu is still major focus of the overall customer and barista experience.
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4
5
PAY FOR ORDER
WAIT FOR ORDER
MESSAGE
NOISE
Communicator B decodes Communicator A’s drink order and encodes the order for Communicator C via writing on a cup or typing it into the computer to be printed out as a label and placed on a cup.
COMMUNICATOR C this is the barista that makes Communicator A’s order.
FEEDBACK is present through the payment of the drink and the visible emotions and body language of Communicator A.
CONTEXTUAL FACTORS
TECHNICAL legibility of the drink order via handwriting or the computer print out. SEMANTIC whether or not Communicator C correctly makes Communicator A’s drink. EFFECTIVENESS whether or not Communicator A’s name is called correctly and loud enough.
CONTEXTUAL FACTORS LOGIC possibility of forgetting how to fill out the drink label or make the drink.
LOGIC of Communicator A having enough money for the order.
MOTIVATION of communicators to not mess up the drink order due to all waiting customers.
MOTIVATION of Communicator B to start Communicator A’s drink is the payment for the order.
CHANNEL is Communicator C’s voice when calling the names of customers.
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6
7
PUT STRAW IN DRINK
ENJOY THE DRINK
NOISE
FEEDBACK
TECHNICAL Communicator C forgetting to tell Communicator A where to get extra condiments such as straws, sugar, or milk for their beverage at a seperate counter. SEMANTIC Communicator A not understanding that they need to go to a different counter to receive their straw or other condiments.
is in the consumption of the beverage, whether or not Communicator A ends up being a repeat customer, or Communicator A’s trip experience via Starbucks’ website and/or customer service phone number.
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PLAYABLE communication model This model focuses on the interactive quality and ability to relate to a wide audience. The focus was to use a concept that people could easily understand and then learn the terms. This model focuses on the communication process between a band or singer and the fan. The model by itself is a bit difficult to understand, thus a second page was added. On the second page there are close-ups and definitions of the various components of the communication model.
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1
COMMUNICATORS are the band that is sending the message via their songs to the fan/listener of the music.
2
CONTEXTUAL FACTORS are personal preference of the listener that affects what kind of music the listener will play.
3
CHANNEL is the method by which the band is connected to the listener, be that headphones or speakers.
4
NOISE IS THE PHYSICAL BACKGROUND THAT THE LISTENER IS IN, THE QUALITY OF THE SOUND FILES BEING LISTENED TO, AND THE QUALITY OF THE DEVICES BEING USED TO LISTEN TO THE MUSIC.
5
MESSAGE is the theme or moral being presented in the lyrics.
6
FEEDBACK is the ability of the listener to rate the songs/albums sending information back to the band and sale scores for individual songs and albums.
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COMMUNICATION THEORY definitions SHANNON-WEAVER MODEL
CONTEXTUAL FACTORS
WHO Claude Shannon & Warren Weaver whom were engineers for Bell Labs.
environmental characteristics that affect the communicator.
WHAT explained how to compress and send lots of information down a channel without losing any important parts that effect the meaning for telephones.
CHANNEL
WHEN 1947.
BERLO MODEL WHO David Berlo, broadcaster. WHAT expanded on the Shannon-Weaver theory but focused on the relationship of broadcaster and receiver. WHEN 1960.
examples education, cultural background, wealth.
the way in which a message is being expressed to a viewer. examples social media, music, posters.
FEEDBACK the method by which we know our message is being received and the effect it is having. examples rating, focus groups, sales.
MESSAGE the idea, moral, or concept which is being explained to the viewer.
EMMERT DONAGHY MODEL
examples morals, policies, orders.
WHO Emmert Donaghy.
NOISE
WHAT expanded the Shannon-Weaver theory but prioritizes context and feedback dealing with two senders/receivers. WHEN 1954. COMMUNICATION THEORY method which messages are created, transmitted and received.
COMMUNICATORS a person who is sending and/or receiving the message. examples teachers to students, designers to clients, companies to audience.
anything that gets in the way of, or distorts, a signal and potentially alters the understanding of the message. examples craft, typography, lack of connection.
LEVEL A is what is the obvious problem – craft issues via smudges, reception, bad workmanship. LEVEL B is based on the background of the receiver. The background is summed up by the social, economic, ethnic background, peers, and family. The main problems at this level are whether or not the receiver understands the message. LEVEL C is the effectiveness due to how hard the message is to decipher, based on what else people are doing while interacting with the design, and/or other issues associated with the physical environment of the receiver while receiving the message.
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WRITTEN & DESIGNED BY A.DE SANDO KANSAS CITY ART INSTITUTE APPLIED COMMUNICATION THEORY PROFESSOR JAMIE GRAY MAY 2012